Signs That Shows A Scorpio Man Is Not Interested

Restored sculptures Tell Halaf in the Pergamon Museum in Berlin.

My Appendix Is Swollen

Venice in German painting of the 19th Century.

29th January 2011, Neue Zürcher Zeitung

a little pleasure in the destruction

capital of the lunatic - an exhibition in Karlsruhe gathered Venice pictures of the German art of the 19. Century

After the French occupation of Venice was not, as yet in the 18 Century, the central festival square in Europe. Then came the formation of travelers who are citizens and booksellers in the impoverished city on the lagoon and them - mostly academic - art from the German speaking countries.

By Manfred Schwarz

The last carnival was said to be let out of range. The extravagant and also the longest. In Venice, they wanted to stop then obviously no longer with the celebration, as if one had suspected that the next, the civil, under foreign domination times would never be as sweet as those who now finally died away. In any event, marched in the spring of 1797, the French revolutionary troops in a city that could not defend altogether: as they celebrated Mardi Gras fun. The rapidly conquered Venetians wore suits instead of uniforms. In any case, the ornamental sword was the only weapon to be understood here. On the seal ring of the last doge, who signed the capitulation of course ado, two billing in pigeons could be seen. The big carnival noise was now first, and for a long time past: the whole carefree uninhibited, fast-frivolous goings, the Venice had made in the Rococo a mad house of Europe, to a hilarious, highly destructive theme park for Russian princes, English gentlemen and French libertine. But now, after the Congress of Vienna the Austrians ruled here, and living in Venice lost its sweetness rapidly. For fear of debauchery, in disinhibition, possibly before uprising, they had cut back even the legendary carnaval parade in Venice dramatically. The masquerade liked not at all the authorities.

The very attractive, especially structured and annotated exhibition of the Municipal Gallery of Karlsruhe, one is therefore rarely depictions of the legendary Venetian carnival see (which is get over, however well ). Among the approximately one hundred and fifty Venice images of German-speaking artists of the 19th Century, are here for the first time ever assembled, by Anselm Feuerbach, Max Liebermann, Carl Werner, Anton Romako to Gustav Schoenleber and Louis Kollitz, they rarely move into view: They are not easy. The Carnival was not an issue for the painters who travel to Venice now. At best picks he was on the historical background, and that's significant: The fact that now even in Venice, where it was before life much too fast to even just to pause, looking especially memories of bygone days and be enjoyed nostalgic. The fact that we now look into the history books, rather than to the coiffures, the neckline of the ladies.

After the big rush

But now it was just the big carnival noise over, and only gradually is forming - just the way during that period, which is dedicated to the exhibition - the modern, onto picturesque morbid and gently frivolous, the beauty of decay targeting iconography of the tourist area in Venice, at the end of the mask, the carnival costume will be one, like the pigeons in St. Mark's Square, but also the amazing lightness of being out of the Venetian Rococo. In Karlsruhe can be not only a hitherto little noticed chapter fathom depth from the art history of Venice as the German-speaking countries - which painters from across the mountains at that time here at work and the nature of the eyes were, they addressed it in this Neptunian city. At the same time to follow here, as in the course of the 19 Century, those initially quite beautiful, but then increasingly decaying corpse, the Venice of the end of the republic and the fall of the Ancien Régime represented after all, little by little in an iconic longing of industrialized modernity, transformed into a mecca for educated citizens and nostalgic, in a "hip bath for lovers," was how once quipped. As ruined the hard place of once a monument is a memorial. A hollow backdrop. capitulate

While some painters, such as Friedrich Nerly especially follow initially happy the perspectives of Canaletto and Guardi, other, Carl Schuch around, before the crippling dominance of the canonical motifs or ignore them such as Max Liebermann and let their eyes rather perplexed, rather aimlessly through narrow, but not necessarily typical streets, wander through backyards or places that might be found in Bergamo and Naples. While artists such as Ludwig von Hagn or Emanuel Leutze, Makart or Anton understand by Werner, the city as a stage where they can with Titian, Giorgione or Aretino occur heroes long since faded times as naturally as they would still live here, just around the corner, the famous Ludwig Dill paints in his acclaimed masterpiece of 1883 a "Venice Canal" as "contemporary history": The scene of everyday work, the highest this side of filth, without a chic, beauty spots and romantic gondola. As a city like any other fast. Only at the end of the 19th Century, Louis Kollitz finally the Piazza San Marco so ago, as it will still see all the tourists, when he could not do otherwise be: with a few fashionable ladies in graceful attitude, and very, very many pigeons.

from a sunken World

The late romantic or Biedermeier, timid timid yet realistic or impressionistic colored paintings of the exhibition, which normally are hardly ever seen gets and the more curious, more pleased discovered here, as usually coyly hidden curiosities from the sunken world of academic painting, let us also follow this process of transformation particularly intimate. We know the Venice of the 19th Century so far from the literature of that period - from Lord Byron to Thomas Mann - and the great art history. In Basel last was about the masterful images of Venice Formidable see the genius and exceptional players, from Turner to Monet, Renoir to Whistler. But here we come much closer to what's happening on the ground because most of the paintings were created for the Venetian art market, for local clients or as a gift for the traveler. For the more or less sentimental use.

Also, the works in the exhibition were mostly painters not only as volatile Tourists in Venice, for a brief foray to the eyes, but usually for a long time. Some came here regularly, others lived here many years and were the same as the famous Friedrich Nerly, the central figure of the show, her beautiful shimmering golden thread to hang forever. The painter wanted to Erfurt in 1837 actually represents only a short trip to Venice and then until his death in 1878, never went away. He has devoted his entire life to the Venice-image, and he did not last through a classic, enriched his success motive, which he repeated dozens of times and varied: the night Venice by moonlight, by the in Karlsruhe some masterful depictions can be seen. Bustle, vice, debauchery, of course, entirely absent here. For the Golden Age of Venice, the silk was long since over. In Nerlys Venetian nights the moon provides the only spectacle. This may not be very glamorous. But after all, but very romantic.

Venice pictures in the German art of the 19th Century. Städtische Galerie Karlsruhe. To 6 March 2011. Subsequently, in the Municipal Gallery of Paderborn. Catalog € 24.80.

What Color Of Couch On Dark Hardwood Floors

on the subject in photography and painting.

In the years 2007-2008 I'm me, although I do not take pictures of themselves involved in the discussions of the image- fotocommunity *; a platform, where (some) professional photographers (many) Amateur display their photographs publicly. The FC has several 'channels', among other things, one for landscape photos. During my employment with the significance of landscape painting for the release of 'the aesthetic' in the world and life of modernity, I came to the question whether the considerations which I had found in the history of landscape painting, as in landscape photography would prove, so the question of what it specifically for landscape, and what is specific to painting.

Here is an excerpt from a letter:

7th 9. 07

... I look at pictures not to a statement.

I must say in advance: I am advised to FC by a strange, almost 'theoretical' interest in knowledge. Seeking on the contrary there for pictures, the 'nothing state'. In other words, I look for the purely aesthetic at the pictures. I mean That which remains of the image visible, if you apart from all the possible meanings outside of the frame, so of all that somehow relates again 'real life' - and relates that reason somehow my advantage or disadvantage . So What not 'interested' but 'only shows' . According to Kant (that's my subject, I must not only that I must quote) is "the Beautiful" (= the time common name for the Significant aesthetic) that which 'appears as if' it to his purpose corresponds completely, apparently without but have a purpose at all! 'Purposefulness without purpose' or 'simple words, what its purpose as itself appears , which is aesthetically justified, the purely aesthetic.

These are, in fact only an 'idea', because, strictly speaking, 'there is' the pure -aesthetic, of course not. Even the colors themselves have (of any physiological brain Operations quite apart) always some 'life-world meaning'. White 'means' for example, for an Eskimo surely different than for an Amazonian Indians, and vice versa green. Then, and only red or blue or gold! Black not to speak of. Likewise, it makes a difference whether regular geometric ('Kunst') or irregular (' Natur') forms are used. - The aesthetic is thus at best relatively 'pure' and not absolute. This relatively pure but you can 'see' if you were to 'apart has'!

The "Art Gallery" in my Photo Home I try to show how the (unconscious) 'search for the purely aesthetic 'the visual arts - has in the way of abstraction out - that was mainly the painting: the mere ratio of surfaces, colors, lines and cut-off values. Though you should always keep in mind: Even a "purely abstract" image can be 'wild' or 'harmonious', 'clear' or look 'dark' - and is therefore still a 'reference to real life' and its interests. As I said: The purely-aesthetic 'there' at the end not yet. Therefore, the abstract painting eventually proved a dead end (which are, however, went only had to be able to prove around him, and what then emerged was an art as it would be merely decorative, if today stemmed from XY . the FC, which is as a photographer on my buddy list painted such pictures, but I do not trust me, it goes with to say.)

Yes, so much for the painting. But in the FC's is precisely not around paintings, but photos, and I realize that my way of seeing is allowed to play there, only a peripheral role. Photography is available - for the great majority - a 'hobby' or - for some - a livelihood, and when they quietly for a (s) a art holds, he's not dare to say. And it is really only ( I would say ) in resort. Namely, in some, not very frequent luck cases if you do not port it. (For if one intends to use the camera 'art' make is almost always reached kitsch kitsch or mannerism or mannered;. For it is found in many examples, FC)

The photo hangs in a very different manner than the paintings on the subject . The painter sits in front of a bare surface, and everything that should be shown at the end, he must himself doing anything, what he will not have, he can go away. The photographer has his 'motive'. He has even voted, probably true. But he has now times, 'as is'. Will he change anything, he has stuff on it Saddle , it's advance by setting the camera, then let it be with Photoshop. If he then changed his subject so that one does not recognize, you may ask quietly: Why he's elected then? Should he choose's throw away and yet a andres! Want to say: The pictorial technique he has chosen - the photograph just - the photographer embarked on from Things that are as to extract the one what he appears much ; significant enough to make it as appropriate with the possibilities of modern technology so hevorzuheben as the 'natural' way would not be possible. (If instead he wants to show what quite different, he should take up a brush and color.)

But there is a catch: For the painter (that is if he wants to be an artist ) it is clear that his Painting supposed to be art. And as expected today (quite rightly) that only the aesthetic him 'significant' is enough to be applied over the bald area. Is it the sensation, the decorative, the anecdote, a joke to him are 'significantly', we shall speak of practical art and crafts. The photographer must remain clear, however, that his photo represents an object. And there are a number of justifications, of which the art is the very last, that the happy exception. Photography is also justified as advertising, as an illustration, a revealing critique (at the time in culture), determined as reportage and still some others, but above all just here too as a hobby, in memory, as a curiosity. And from all these motives can publish their photos in the FC. This is me with my point of view clear and I am trying with my comments (mostly) to beat. But does publish: bring to the public. And since I lurk in my view, it must be reckoned with. The fact that some were offended that I am philosophically.

*) The FC has since subsided. But a few good pictures can be found again and again, as shown here!

Renewing Canadian License From Another Country

It has again become cold ....

0 degree, we had this morning. Now it just needs to snow again and the weather has adapted perfectly my current frame of mind. It's amazing how one is totally happy and satisfied in one day and not even 24 hours later, saddened and concerned .....
Ok, a friend of mine, I must not tell ^ 0 ^

belongings today do not feel like work experience. But it serves no useful purpose. The best thing to push unpleasant thoughts of himself is employment. So come on .... well, in 45 minutes ^ ^

The Joyous is that I can show you on Saturday my patchwork, in all steps! Now I want all of my sewing Document! So I can always follow myself later, what I have dovetailed exactly.

So now I'll have another cup of tea and make me be on the road.


I can not draw with Paint ... so not with a mouse

How To Change Mw2 From Russian

annual meeting of the Young Socialists in 2011

Last Thursday was the annual general meeting instead of the local Young Socialists group.

I was confirmed in the office of President, Deputy. Presidents are Björn Frick and Daniel Görich. Completing the Board Marcus Ehmann (office management) and Karim Monem (box office).
Björn Frick was until November 2010 Member of the CDU and chairman of the Junge Union in Langen. His move into the ranks of the Social Democrats, he said, alongside substantive differences with the way in which he was bullying the Board.

Here here for the article in the newspaper Langener

Preg Test After Ivf Be Wrong

art divides people.




art divides people.
Schiller


kitsch makes him quite at his - and liked it.
Before the start of the modern in the romance, there was no difference between art and kitsch. There was only successful and less successful works, managed by the spent craftsmanship and is managed by the prevailing taste. The taste might be more or less formed - but then let alone distinguish a good from a bad taste.
Only when the people, namely the modern people consider their discord with himself as its discontinued provision began, could be distinguished by the works provocative and after reconciling .

The quarreled with the man is the reflective man - that gifted with free will of sovereign bourgeois subject who sees a world made over, not knowing what it has lost there . Whoever of the impositions of a disunited existence quietness will resort to the atoning work of the artists. Whenever a fact can be a habit, a man Kitsch is born.

Not too much beauty makes the difference. But it is a beauty, in which a well is just, and a beauty that brings one beside himself, and that can a Dvorak symphony and a sunset.

Where the self is like is kitsch, and where the overwhelming Andre is art.


PS . Schiller's distinction between Hooking and melting beauty means something else, but perhaps not quite something else?

Men Who Wear One Piece Swimsuits

The emergence of landscape painting in the spirit of nominalism

New from Zurich Newspaper 24th 6. 06

The view of the world

Francesco Petrarca and Jan van Eyck - the emergence of landscape painting in the spirit of nominalism

by Karlheinz Stierle

The appearance of the landscape in the painting of the 15th Century marked a threshold that is neither a break with the so-called middle age can still capture sufficiently as a return to antiquity. The landscape as an expression of a new global grant is based on "medieval" conditions that exceed the new landscapes, but without which they would not have been possible.

In his celebrated essay "Landscape" (1974) attempted Joachim Ritter, bringing the essence of modern landscape experience to the concept. The central movement of this thoughtful concern for the nature of the modern conception of landscape is: ". Nature as landscape is fruit and product of the theoretical mind" This link two theories that explain to each other: 1 Landscape is a publication by nature as opposed to culture. 2. Nature is not simply given as a landscape, it is a product, namely "the theory of mind".

application point of Knight's thinking is the famous letter to the Parisian theologian Dionigi di Borgo Sansepolcro at the beginning of the 4th Book of "Familiares." Petrarch reports of the ascent of Mont Ventoux, the one of 26 April 1335 was undertaken jointly with his brother. Petrarch stands for Ritter, arrived on the plateau of the mountain and the beautiful displays ("spectaculum") of up to perceiving the distant horizons reaching landscape, in the tradition Greek theoria as an "intuitive approach". Petrarca, what is his knights, "climbs, leaving behind all practical purposes, the mountain to the summit, but driven by the desire to look to participate in a free viewing and theory at the whole of nature and of God."

The epochal significance of this moment and this act would then be that Petrarch at the height of Ventoux for the first time experience nature as a landscape and this would have for the first time the theoretical mind would oppose it. The ancient world had the experience of nature, not the landscape. Their true hour seems Knights first came as a natural science, the nature and seized this submission, the possibility of a disinterested view of nature releases, which is now a concrete view of the landscape.

Petrarch has undoubtedly made at the earliest experience of something like landscape and represented diverse. It thus marks the beginning of an experience in the painting of the 15th Century to a triumphant into the picture set new disclosedness the world. But what are the mental conditions to ensure that even the world can become a landscape? What had happened was that landscape in the horizon of visibility and that visibility in the medium of visibility, the painting could come to their representation?

ABUNDANCE AND DIVERSITY OF INDIVIDUAL

The panoramic landscape, the fall from the top of Mont Ventoux, Petrarch's view is not, as Knight says, simply nature, but an infinite combination of nature and human culture. Knights of Petrarch studied in his discussion participation in the world "in all of nature and of God." This is not to see Petrarch's text. On the contrary, instead of the big, top and bottom, sensual and divine world of the comprehensive whole of a theoretical approach to revealing the cosmos looks Petrarca especially the infinite wealth of the individual. The one to which Augustine him in the imaginary conversation of the "Secretum" would lead disintegrates him in bewildering variety.

It seems as if a still not sufficiently developed affinity between Petrarch and the outgoing of Paris new philosophical movement of nominalism, in William of Ockham's philosophical legitimacy of the individual and especially its real target was. Petrarch, who was deeply interested in the latest developments in philosophy and theology in Paris, had probably no effort to familiarize themselves with the latest direction of the Parisian school philosophy.

The real is the individual: "Omnis res extra animam est singularis et una numero in reality." (Every thing outside the soul is in fact individually and one in number) from the set Ockham's "Liber sententiarum" is symptomatic of a new vision of the world. But while still in scholastic paths moving philosophy of nominalism, the experience of the individual is generally postulated, the signature of Petrarch's work, the experience of the individual polymorphic unpredictable in its diversity. Petrarch's world is not a well-ordered cosmos, but a sea of contingency.

SINGLE THINGS IN POINTS

which defines a work from the most eloquent testimony that Petrarch's earliest European success was and is today virtually forgotten how to be "De remediis utriusque Fortuna" (On the remedies against Fortuna in both kinds). In particular, the introduction of the second part, under the Heraclitean motto "Omnia secundum litem fiunt" (Everything is in combat) as is the magnificent evocation of a scene, to which all individual things are understood in ceaseless conflict. The 1532 published in Augsburg German translation summarizes the essence of Petrarch's view of the struggle of all things against each other under the dictum:

Everything that auff earth floats and lives, The reluctant one another.

is unmistakable in the "one each" the central experience of the singularity heard that Ockham's nominalism had made central to the philosophical category and refers to Petrarch in a new discourse of singularity and plurality of their language. The release of the singular stripped of the world their commitment to the ASP, penetrate into the individual and universal, but also a vertical order of being, rising stepwise from the lowest regions of being up to the most exalted sphere of the triune God. The priority of the particular to the General are the former, the fascination with the startling novelty, but also the oppressive presence of the manifold become an incalculable.

This radically new by any theoria more restrained experience seems to be the background on which the first Petrarcasche discovery of the landscape as it is in the Ventoux letter to represent their acute sense receives. What sees Petrarch beyond planning and expectation of the level of the Mont Ventoux, is not natural, much less a cosmic order, but multiplicity of individuals, brought into the suspension as a down to the distant horizon extending carpet - and by virtue of the gaze that the individual subjective released from his isolation to a new kind of coherence. The enormity of this new experience Petrarca can access the strongest formulation, "obstupui" (I wondered).

AESTHETIC EXPERIENCE

Petrarch's view of the world is purely within the world, while the experience of over reality, quite Augustine moved the following, in the inwardness or Ausserweltlichkeit of memory. Petrarch's experience of the landscape is but the mere perception of intraworldliness not. The linkage of the individual owes to the perception, not the factuality, but weltverwandelnden the power of the subjective gaze. Landscape, it is never itself, it arises only in its being perceived. Only the face of it, near and far, but also the detail of perception. In it combine the data of diverse individuals to a totality second order, which stems from the power of the welter closing instant.

the only way in which each individual view-taking, but also to the landscape Anblickhaftigkeit together entering a maximum of self-reference reach and a internal plurality, polyphony even win that makes the landscape only to an aesthetic experience. Not by chance is the perception of landscape polyphony with the invention of polyphonic music in an epochal context.

landscape in the modern sense, as it occurs in Petrarch Ventoux letter first appeared is, the birth of landscape elements from their functional context and thus the discovery of the landscape as a manifestation of the diversity of the world ahead. It is the context-setting, raumkonstituierende power of the gaze from the lofty site, which gives the saw a new kind of self-reference. What happens if the experience of the released range of image is, can be seen from the painter who has put the potential of becoming image of the landscape at the most profound thought and at the most artistic work and without which the development of landscape painting in the 15th Century would be unthinkable, Jan van Eyck.

to Jan van Eyck probably before 1420 arising miniature of the baptism of Christ by John the Baptist in Turin-Milan Hours (Turin, Museo Civico) and its about 1430 painted portrait of the Chancellor Rolin ( Louvre), the new landscape design very clearly. The representation of the baptism of Christ, a Bas-de-page miniature of the smallest format thumbnail the birth of John the Baptist is a contemporary viewer in its landscape and its depth in the water is reflective, fine-grained light effects of astonishing modernity.

MODEL MINIATURE

The sun, the white dove as its rays on the group of Baptist and Christ, standing in the water depends, is also the real sun, the light with its shadows and water reflections on the whole landscape is. The landscape is made up of its meaning center, the baptism of Christ, free and gain in depth and width of its own life as objectification of a unifying gaze that brings in microscopic details manifesting variety of the landscape in the suspense and the sense of the center as an accidental occurrence in the middle release of a dynamically moving world can be. Thus, this landscape miniature or miniature landscape in the irresolvable tension between the open countryside, is as the scene of the collapse of the over reality in the world of the infinitely complex and the binding of the manifold to an order, the evidence just seems to be still a distant memory.

Jan van Eyck's model of a new landscape design in the spirit of nominalism finds her redemption with the grandiose image of Chancellor Rolin, which is given in the intensive Bible Meditation the appearance of the Virgin with the infant Jesus. Here, too, thanks to a brilliant pictorial invention, should make the era, the religious center both mind set and not in force. For if the viewer from the praying-Chancellor in the foreground and it appears the royal Lady replaced with the Child, his view through three of two free-standing columns demarcated falls column bent to a wide-open landscape, the distant horizon of the is formed in the brightest light lying Alps. In the middle arch appears a broad, from afar-coming River, crossed by a bridge, she combines a rich Gothic town with a modest village or a suburb on the other side.

has left to the viewer once this view, he is as recorded by a suction that pulled out into a good extensively landscape in which he can lose in a vast abundance of details. He can free himself from them and capture the whole of the landscape, but he needs to solve, in turn, also from this, if he wants to see the view of the praying Chancellor of the Mother of God. This is how the viewer the experience of incompatible perspectives and with them the incompatible relationship between turning to religious introspection and experience of the Urban lot of the world.

CHRIST ON CALVARY

little doubt should exist as that Jan van Eyck, the image display has invented the crucified Christ on Golgotha amidst a landscape that is the world landscape expands. Although the van lost original of Eycksche seems to be speaking, a whole family of images of the crucifix overlooking a vast landscape clearly the imagery van Eyck. Criss-cross, face the indifference of the world in their isolation, as a unit of the landscape presents itself to the viewer. He breaks away from the sight of the diversity and yet not able to learn more on the cross as the sole purpose center.

The decomposing in isolation world that brings the look in the suspension of a single still of the view itself guaranteed in full, by Petrarch first lifted from the abstractness of a scholastic nominalist theorem sensual in the sphere viewable . But it is Jan van Eyck, who made the first disclosedness the world as a landscape to the experience of the thinking eye, and thus the painting of the 15th century has been an inexhaustible subject and abandoned. Subject of this painting is the new world, not nature. In the history of aesthetic perception and its growth so that a chapter is opened, which goes well beyond ancient theoria and offers an aesthetic space, the possibilities have been exhausted today not to.

Karlheinz Stierle occupied until his retirement in the Chair of Romance literature at the University of Konstanz. His recent publications include "Francesco Petrarca. An intellectual in Europe of the 14th Century "(2003).

Nissan X-trail Roof Rail

And the Nominees are ...

...
for Best Actor (Actor in a Leading Role)

• Javier Bardem in "Biutiful"
• Jeff Bridges in "True Grit"
• Jesse Eisenberg in "The Social Network
• Colin Firth in "The King's Speech"
• James Franco in “127 Hours”

Für Bester Nebendarsteller (Actor in a Suporting Role)

• Christian Bale in “The Fighter”
• John Hawkes in “Winter's Bone”
• Jeremy Renner in “The Town”
• Mark Ruffalo in “The Kids Are All Right”
• Geoffrey Rush in “The King's Speech”

Für Beste Hauptdarstellerin (Actress in a Leading Role)

• Annette Bening in “The Kids Are All Right”
• Nicole Kidman in "Rabbit Hole"
• Jennifer Lawrence in "Winter's Bone"
• Natalie Portman in "Black Swan"
• Michelle Williams in "Blue Valentine"

for Best Supporting Actress (Actress in a suporting role)

• Amy Adams in "The Fighter"
• Helena Bonham Carter in "The King's Speech"
• Melissa Leo in "The Fighter"
• Hailee Steinfeld in "True Grit"
• Jacki Weaver in “Animal Kingdom”

Für Bester Film (Best Picture)

• “Black Swan” Mike Medavoy, Brian Oliver and Scott Franklin, Producers
• “The Fighter” David Hoberman, Todd Lieberman and Mark Wahlberg, Producers
• “Inception” Emma Thomas and Christopher Nolan, Producers
• “The Kids Are All Right” Gary Gilbert, Jeffrey Levy-Hinte and Celine Rattray, Producers
• “The King's Speech” Iain Canning, Emile Sherman and Gareth Unwin, Producers
• “127 Hours” Christian Colson, Danny Boyle and John Smithson, Producers
• “The Social Network” Scott Rudin, Dana Brunetti, Michael De Luca and Ceán Chaffin, Producers
• “Toy Story 3” Darla K. Anderson, Producer
• “True Grit” Scott Rudin, Ethan Coen and Joel Coen, Producers
• “Winter's Bone" Anne Rosellini and Alix Madigan-Yorkin, Producers

und was mich noch am Meisten interessiert

Für Beste Kostüme (Costume Design)

• "Alice in Wonderland" Colleen Atwood
• "I Am Love" Antonella Cannarozzi
• "The King's Speech" Jenny Beavan
• "The Tempest" Sandy Powell
• "True Grit" Mary Zophres

Quite a lot of films that have been nominated as .... which promises a very very long ago to be (at 27.02. 2011 is the award). And I know of hardly any of them, because here are not running, or self've missed! The only movie I've seen of this is INCEPTION. And that was really a damn great movie!

----------
I think the way that I have missed my calling. I would have to be plumbers. Did the toilet tank of my toilet repaired's all alone (ok.. Was not difficult ....). I'm good ^ 0 ^

Windows 7 On Dell Optiplex 620 Mini Tower

rested!

This new daily rhythm is not quite in my bones, but I'm getting out's.

morning, where the nominees for the Oscar ceremony. 'm Curious! I've even made a somewhat broader picture and have my own favorites. Let's see if I'm right ^ 0 ^

-----------------

Then I have to get rid of a few more congratulations!

1) HAPPY BIRTHDAY BERND LATER!! Hope you had a nice day!

2) HAPPY BIRTHDAY PURE. I wish you all the best and a beautiful day today!



------------------------------

'm Currently, if I do not sleep or internship (as of this week I can the first time during the show to sew ^ ^ * FEAR *) I sew patchwork sweet things. You'll soon show you some pictures from the manufacturing process. But only on Saturday ........

Now I'll get dressed and go to town .... Bersorgungen!!

Until then

Can A Pinguecula Go Away

Why am I so happy ... FASHION FASHION FASHION

so happy ... so happy
why I'm so happy I was never so happy
................

This year is truly amazing! it starts to super! With great news and so .... Can you dance for joy ... wait, I do very well ................................... ^ 0 ^ that was good! Sun .. wanted to show you some pictures that I've done the last day I was in town. Finally, I exploit the fact that I'm so ne nice camera!

can not not look so good, but the hands are so full of cool rappers do ... such a bullshit!

and then I have found this here and found it out!